Tramps (Adam Leon, 2016)

Back in 2012, American director Adam Leon made his feature debut with Gimme the Loot, which concerned two graffiti artists looking to tag an iconic landmark as revenge against a rival gang, but needing to raise $500 prior to pulling off their grand scheme. A shaggy two-hander caper that was short and sweet, Gimme the Loot was a film that thrived on the chemistry of its two young leads and an evocation of a side of New York City rarely given much attention in contemporary cinema. It recalled much of the spirit of early Richard Linklater and lighter Jean-Luc Godard fare, as well as the humanist, music-heavy films of the late Jonathan Demme, the latter of whom lent the US release of Gimme the Loot a “Jonathan Demme Presents” credit to help it out.

A few years on, Leon is back with Tramps, under the Netflix Originals banner, which concerns a very different pair of young protagonists, but is a film of a similar mould – a romp through upstate and city-based New York that’s thin on narrative, but high on energy. The caper plot this time around involves a briefcase swap deal that goes wrong, the full specifics of which are so vague as to be inconsequential; Tramps is more about the mischief of the matter than the danger. One’s mileage may vary as to how important that lack of, uh, importance is, but details such as what’s actually in the briefcase, or where it’s from, are besides the point for the tone Leon (who co-wrote the film) is going for…